Music supplement to the Lutezine to Lute News 140 (December 2021): Deutche Dantz Die schöne Somer zeytt (Hudson 12) - The Healths & All the Branles in french lute prints

Die schöne Somer zeytt - Almande d'Amour

Here is the last in the series of the fifteen most popular Deutsche Dantz listed in Richard Hudson The Allemande, The Balletto, and the Tanz: I The History; II The Music (Cambridge University Press 1986), p. 35. All twenty four versions for lute and cittern that I know (H12a-x) are edited here some with barring and rhythm signs reconstructed, the edotorial changes usually indicated in grey in the tablature. The sources are equally divided between German and French tablature (see p. iv below for facsimile pages of H12a & H12i), and six more are for keyboard or instrumental ensemble.[1] Few bear the German title Die schöne/ schena/ fröhlich Somer zeytt [The happy/lovely summer time] (H12a, e, f and one keyboard source) and 14/24 are titled Almande d'Amour or similar. Settings for lute are in two different tonalities, four in D minor (assuming a lute at G pitch) and the rest a tone lower in C minor. The tantz is unusual in having five sections/strains of 2, 4, 4, 2 and 4 bars, with or without repeats, more or less faithfully preserved in all the sources although double bar lines have added editorially when absent in the originals to highlight the sections.[2] Also, only one source is followed by a triple time nach dantz, and this source is the most extended setting with repeats to all the sections. In addition other pieces begin with the same tune (H12app 2-4), bear a general similarity (H12app 6-7) or similar title but are musically unrelated (H12app 1, 5) and so are not the same tantz in five sections. However, the pieces included as H12app with similar title and/or which quote the tune have all been quoted in modern articles, editions and databases as concordances or cognates for the tantz.[3] The tablature for all of them is reproduced here to show clearly the relationships between this diverse group of repertory, highlightling the close connections between settings that are based on the Deutsch Dantz known in Germany as Die schöne Somer zeytt. It is presumably named after a popular ballad the text of which is not now known, although it is not clear whether the tune originated in Germany rather than The Netherlands or elsewhere.

*sources listed in Hudson

H12a. CH-Bu F.IX.70, pp. 99-100 XXXVIII Du fröhliche Sommer zeÿtt p. 1

H12b. *DK-Kk Thott 4o.841, f. 97v iii Alio modo 2

H12c. DK-Kk Thott 4o.841, f. 51ar 92. Durch liebes krafftt 2

H12d. D-B 4022, f. 43v Alman de amour 3

H12e. CZ-Pu XXIII.F.174, f. 14v Die schöne Sommerzeit 3

H12f. CZ-Pu 59r.469,[4] ff. 138v-139v Die schöne Sommerzeutt - Saltarello 4-5

H12g. PL-Kj 40159, ff. 6v-7r Allemand Amor 6

H12h. *DK-Kk Thott 4o.841, f. 97v i Almand Amour 6

H12i. D-B 40141, f. 67r Allemandemor 7

H12j. F-Pn Rés. 941, f. 8r Almâde damour 7

H12k. *Waissel 1573, sig. M3v 51. Tantz. Almande damour 8

H12l. NL-Lu 1666, f. 481r untitled 9

H12m. *DK-Kk Thott 4o.841, f. 97v ii Alio modo 10

H12n. D-B 4022, f. 45r Almande amour 10

H12o. GB-Lbl Sloane 1021, f. 78r Al man mor 11

H12p. NL-Lu 1666, ff. 480v-481r untitled 11

H12q. *Denss 1594, f. 90v Alemande d'amour - Variatio praecedentis 12

H12r. D-Dl 1-V-8 (Loss), ff. 100v9-101r9-101v1-6-102r1-6 Allema[n]

de d'amour - Variatio p[rae]cedentis 13

H12s. NL-Lu 1666, f. 480v untitled 14

H12t. CZ-Pnm IV.G.18, f. 177r Allamanda del Amore 14

H12u. NL-Lu 1666, f. 480r allemande Amour 15

H12v. *Vreedman 1568, f. 51r Almande damours - cittern 16

H12w. *Phalèse & Bellère 1582, f. 72r Almande d'Amour - cittern 16

H12x-i. F-Pn Rothschild I 411,[5] no. 1 Allemande Damour - cittern 17

H12x-ii. F-Pn Rothschild I 411, no. 4 Allem[ande] Damour Bassus 17

- duet for chromatic citterns in French tuning a 5th apart

H12app 1. *Viaera 1564, f. 32v Almande d'amours - cittern 18

H12app 2. LT-Va 285-MF-LXXIX, f. 3v untitled 19

H12app 3. NL-Lu 1666, f. 135r Passamezzo d'Amour 20

H12app 4a. D-Hbusch, ff. 37r-39v Pauana [6] - HoveB 323[7] 22-23

H12app 4b. Hove 1601, ff. 92v-93r Pauana - HoveB 321 24-25

H12app 5a. NL-Lu 1666, ff. 476r-476v Almande Amoureuse 26-27

H12app 5b. NL-Lu 1666, f. 479v untitled 27

H12app 5c. NL-Lu 1666, f. 479r Almande Amoureus 28

H12app 5d. NL-Lu 1666, ff. 479r-479v untitled 28-29

H12app 5e. D-B 4022, f. 44v Almande amour 30

H12app 6. *Negri Gratie p. 187 Balletto detto l'Alemana d'Amore 29

H12app 7. D-Z 115.3, f. 22v/p. 40 Tanetz - Zhuru 30

= CZ-Pu 59r.469, ff. 28v-29r Gyney - Zhuru

The Health(s) or The merry wassail - Rocantins

After Robert Ballard's setting of 'Rocantins' appeared in the tablature supplement to Lute News 137 (April 2021), Chris Goodwin recognized the tune as an English country dance called 'The Health(s)' found in the first edition of John Playford's The Dancing Master of 1651 and titled 'The Healths, or The Merry Was(s)al' from the fourth edition of 1670.[8] It is probably the same tune that accompanied the song 'Come, faith, since I'm parting' by the cavalier Patrick Carey on bidding farewell to his hospitable entertainers at Wickham, in 1651 which was set 'to the tune of The Healths'.[9] It is also called 'The Healths' and arranged for cittern in Playford's Musick's Delight on the Cithren 1666 and for keyboard in Ann Cromwell's Book (GB-Llml 46.78/748) copied c.1638. Two untitled settings of the tune are known for lutes in transitional tunings, one in the later section of the Pickeringe lute book copied c.1640-1650 and another in the Thynne lute book (GB-WMl Recess VI Music MS 7) copied 1625-1635. Daniel Leech-Wilkinson noted the use of the same tune in 'The Healths' and 'Rocantins' found in several French sources,[10] including settings by Robert Ballard (concordant with Thynne, above) and Nicholas Bouvier both in Pierre Ballard Tablature de Luth de differens autheurs sur les accords nouveaux (Paris 1631) and an anonymous setting in manuscript CH-Zz Q.907 copied 1640-1642. There is another setting, for mandore, in Chancy Tabulature de mandore (Paris 1629). None of the sources are for lute in vieil ton tuning, but the ones here have been transcribed for renaissance lute. Tim Crawford also recognised the tune of 'The Healths'/'Rocantins' from the first section of 'La Bourree' for instrumental ensemble à4, no. XXXII in Praetorius Terpsichore of 1612. It was previously identified in an article by Luis Torres,[11] although the main focus of the article was to suggest that Praetorius must have known and arranged English dance tunes, but it seems just as likely that he collected it in France independent of its migration to England.

R1. Chancy 1629, f. 21r Les Rocantins - transcribed from mandore (hfh) 31

R2. GB-Llml 46.78/748 (Cromwell), ff. 19v-20r The healthes - keyboard 31

R3. Ballard 1631, p. 8 Rocantins - Ballard - (edeff)[12] & trans 32 & 33

R4. Playford 1666, sig. E4v 62. Healths - cittern 32

R5. Playford DM 1651, p. 55 The Health/Healths 33

R6. Ballard 1631, ff. 46v-47r Rocantins - Bovvier - (dedff) & trans 34 & 35

R7. GB-Lbl Eg. 2046, f. 47v untitled - (dedff) & trans 36 & 37

R8. GB-WMl Recess VI Music MS 7 (Thynne), f. 3r untitled

- (edeff) & trans 36 & 37

R9. CH-Zz Q.907, f. 21v Rocantin pecard - (edeff)[13] & trans 38

Branles in french lute prints

To continue the survey of lute settings of branles, here are all eighty-five for renaissance lute found in the lute prints of Attaingnant, Le Roy, Francisque and Besard plus two arranged from Arbeau Orchesographie 1588 - but excluding those for lute in cordes avallée tuning.[14]

In Grove Music Online Daniel Heartz describes Branle [bransle/ brande/brando/brawl/brall/brangle/brantle] - from the French verb branler, to shake, wave, sway, wag, wobble - as a type of French country dance for groups in a circle, a single line or a line of couples. The branle was based on the Basse danse from the Middle Ages modified by adding a swaying side step. Branles were adopted at the French court in the sixteenth century and grouped in suites, usually in a sequence of one or more each of a premier branle [simple], branle gay, branle de Poictou, branle double de Poictou and branle de Montirandé and later a branle de gavotte was added. The branles in Robert Ballard's Second Livre 1614, plus all thirty-nine branles I know in cordes avallée tuning transcribed for renaissance lute, for the supplement to Lute News 137 (April 2021) and its accompanying Lutezine. As a second selection of branles here are all those found in other lute books printed in France (twenty in Attaingnant Dixhuit Basses dances ... le tout reduyt en la tablature du Lutz 1530, 17 in Le Roy Premier Livre de Tabulature de Luth 1551 and A Brief and easye instru[c]tion to conducte and dispose thy hande on the Lute 1568 (English edition of lost original of 1557 or 1567) and seventeen in Francisque Le Trésor D'Orphée 1600) - but not the nine for lute in cordes avallée tuning (see fn 14) - as well as those published in Germany by the Frenchman Jean Baptiste Besard, twenty-two in Thesaurus Harmonicus 1603 and another nine in Novus Partus 1617. Two Scottish branle (d'Escosse) are also arranged for lute from the melodies in the dance manual Arbeau Orchesographie 1589. The worklist below notes the branles with cognate settings in more than one of the prints as well as a few concordant and cognate settings in lute manuscripts and prints from Germany and Italy. The titles of some branles reflect the French region of origin, e.g. de Bourgogne (Burgundy), de Poitou (Poitiers), and branles are in either duple time (commune/ double/ haulberroy [hautbois])/simple/ de Bourgogne/ de Montirandé/ de Paris/ de village) or triple time (gay/de Poictou). The branles in Attaingnant seem to be a random selection and Le Roy 1551 includes just three types, a branle simple, two branle gay and nine branle de Bourgogne and Le Roy 1568 four branle of Malte and one branle de Poictou. However, the branles in Francisque follow the sequence of the court suite and end with a gavotte, with one to six of each type (as alternatives or to be played one after the other?). The branles in Besard's Thesaurus Harmonicus begin with one by Laurencini (Lorenzino Tracetti), followed by groups of two branle de Poictou, nine branle gay and one branle commune interspersed with seven titled only branle and ending with two branle de gavotte (one by Cidrac Rael), although not in the expected sequence of the court suite. Besard also includes an extended 43-bar branle de Paris all in duple time so seemingly not a suite of branles run together - in addition to the three for lute in cordes avallée tuning (see fn 14). In Novus Partus of 1617, he included four branle nouveau and four branle de village. The latter are arranged as duets for lutes a fourth apart, and as there are lute solo cognates for the Maior parts of some of them, it seems he wrote second lute parts for existing branles. He also includes another branle that he describes as based on one by Laurencini arranged for what he calls his new type of lute (see title of B83).

Attaingnant Dixhuit basses danses 1530 [15]

B1. Attaingnant 1530, f. 15r Branle gay 39

B2. Attaingnant 1530, f. 15v Bra[n]le gay 39

B3. Attaingnant 1530, f. 16r Branle 40

B4. Attaingnant 1530, f. 16v Branle gay. Cest mon amy [16] 40

B5. Attaingnant 1530, f. 17r Branle 41

B6. Attaingnant 1530, f. 18r Branle gay 41

cf. D-Mbs 2987, f. 10v Bransle adieu marguarite adieu vous dy car ie me voys

B7. Attaingnant 1530, f. 17v Branle gay 42

B8. Attaingnant 1530, f. 18v Haulberroy [1] 42

B9. Attaingnant 1530, f. 19r Haulberroy [2] 42

B10. Attaingnant 1530, f. 19r B[ranle] Poictou 43

B11. Attaingnant 1530, f. 19v i B[ranle] Poictou 43

B12. Attaingnant 1530, f. 19v ii B[ranle] Poictou 43

B13. Attaingnant 1530, f. 20r B[ranle] Poictou 44

B14. Attaingnant 1530, f. 20v Branle 44

B15. Attaingnant 1530, f. 21r Branle Nicolas mon beau frere 44

B16. Attaingnant 1530, ff. 21v-22r B[ranle] Poictou 45

B17. Attaingnant 1530, f. 22v Branle gay 45

B18. Attaingnant 1530, f. 22v B[ranle] Allez dire a c. damboyse 45

B19. Attaingnant 1530, f. 23r Branle 46

B20. Attaingnant 1530, f. 24v Branle 46

Le Roy Premier Livre de Tabulature de Luth 1551

B22. Le Roy 1551, ff. 34r-34v Branle simple

- Le Branle precedent plus diminué 47

B23. Le Roy 1551, f. 35r Branle gay 48

B24. Le Roy 1551, f. 36r Premier Branle de bourgonge 48

Phalèse 1568, f. 89r Branles des Bourgoignes [1]

Phalèse & Bellère 1571, f. 121v Branles des Bourgoignes [1]

B25. Le Roy 1551, f. 36v Second branle [de Bourgoigne]; cf. B84a 49

Phalèse 1568, f. 89r [Branle de Bourgoigne 2]

Phalèse & Bellère 1571, f. 121v [Branle de Bourgoigne 2]

Jobin 1573, sig. E3v Branle 2

cf. Vallet II 1616, p. 14 ii Branle de la royne 6

GB-HAdolmetsch II.B.1, f. 235r Branle 6

S-Uu 412, f. 2v Bra[n]sle

B26. Le Roy 1551, ff. 37r-37v Tiers branle [de Bourgoigne] 49-50

Phalèse 1563, f. 68r ii Branle

Phalèse 1568, f. 89r [Branle de Bourgoigne 3]

Phalèse & Bellère 1571, f. 121v [Branle de Bourgoigne 3]

B27. Le Roy 1551, f. 35v Branle gay la ceinture que je porte 50

B28. Le Roy 1551, ff. 37v-38r Quatreyesme branle [de Bourgoigne] 51

Phalèse 1563, f. 68r iii Branle

Phalèse 1568, f. 89v [Branle de Bourgoigne 4]

Phalèse & Bellère 1571, f. 122r [Branle de Bourgoigne 4]

B29. Le Roy 1551, f. 38r Cinquiesme branle [de Bourgoigne] 51

Phalèse 1568, f. 89v [Branle de Bourgoigne 5]

Phalèse & Bellère 1571, f. 122r [Branle de Bourgoigne 5]

B30. Le Roy 1551, f. 38v Sixiesme branle [de Bourgoigne] 52

Phalèse 1568, f. 89v [Branle de Bourgoigne 6]

Phalèse & Bellère 15716, f. 122r [Branle de Bourgoigne 6]

B31. Le Roy 1551, f. 39r Septiesme branle [de Bourgoigne] 52-53

Phalèse 1563, f. 68r i Brandt de Bourgoinge

Phalèse 1568, ff. 89v-90r [Branle de Bourgoigne 7]

Phalèse & Bellère 15716, ff. 122r-122v [Branle de Bourgoigne 7]

B32. Le Roy 1551, f. 39v Huictiesme branle [de Bourgoigne] 53

Phalèse 1568, f. 90r [Branle de Bourgoigne 8]

Phalèse & Bellère 15716, f. 122v [Branle de Bourgoigne 8]

B33. Le Roy 1551, f. 40r Neufiesme branle [de Bourgoigne] 54

Phalèse 1568, f. 90r [Branle de Bourgoigne 9]

Phalèse & Bellère 15716, f. 122v [Branle de Bourgoigne 9]

B34. Le Roy 1568, f. 24v First Branle of Malte - otherwise 56

B35. Le Roy 1568, ff. 25v-26r The seconde Branle of Malte - otherwise 57

B36. Le Roy 1568, f. 26v The third Branle of Malt [17] 58

B37. Le Roy 1568, ff. 27v-28r The fowerth Branle of Malte 59

B38. Le Roy 1568, f. 39v Branle de Poictou 59

Arbeau Orchesographie 1589

B21. Arbeau 1589, ff. 80r-80v Air du premier branle d'Escosse 46

B39. Arbeau 1589, ff. 80v-81r Air du second branle d'Escosse 54

Francisque Le Trésor D'Orphée 1600

B40. Francisque 1600, f. 15v Premier Branle simple 54-55

cf. Fuhrmann 1615, pp. 134-135 Bransle 1

Besard 1603, f. 146v Branle a corde auallee (fefhf)

Hove 1601, f. 105r Bransles [1] - cordes avallée (fefhd) HoveB 359

GB-Lam pauer, ff. 180v-181r Branle - cordes avallée (fefhd)

B41. Francisque 1600, f. 16r Second [Branle simple] 60

B42. Francisque 1600, f. 19r Premier Branle de Poitou 60-61

B43. Francisque 1600, f. 18r Premier Branle gay 61

cf. S-Uu 412, f. 3v Bra(n)sle

B44. Francisque 1600, f. 16v Qvatriesme [Branle simple] 62

B45. Francisque 1600, f. 17v Sisiesme [Branle simple] 63

B46. Francisque 1600, f. 17r Cinquiesme [Branle simple] 64-65

B47. Francisque 1600, f. 16r Troisiesme [Branle simple] 65

B48. Francisque 1600, ff. 18r-18v Second [Branle gay] 66

B49. Francisque 1600, ff. 19r-19v Second [Branle de Poictou] 67

B50. Francisque 1600, f. 18v Troisiesme [Branle gay] 68

B51. Francisque 1600, f. 20r Premier Branle double de Poitou 68-69

B52. Francisque 1600, f. 20r Second [Branle de Poictou] 69

B53. Francisque 1600, ff. 19v-20r Troisiesme [Branle double de Poictou] 70

B54. Francisque 1600, f. 20v Premier Branle de Montirandé 71

B55. Francisque 1600, f. 20v Second [Branle de Montirandé] 71

B56. Francisque 1600, ff. 21r-21v Gvauotte 72-73

Besard Thesaurus Harmonicus 1603

B57. Besard 1603, f. 144v iii Branle 73

B58. Besard 1603, f. 141r Branle simple de Poictou 74

cf. Adriaenssen 1584, f. 91v-92r Branle de Poictou [4]

I-COc 1.1.20, ff. 4v-5r Brandle

D-W Guelf. 18.8 XI, f. 279r Brando di poctu à Corda auales (fefhf)

B59. Besard 1603, f. 141v i Branle de Poict 75

B60. Besard 1603, f. 142r i Branle 76

B61. Besard 1603, ff. 142v-143r Branle gay 76-77

cf. Terzi 1599, p. 67 Branle Francese duble

B62. Besard 1603, f. 143r ii Branle gay 77

B63. Besard 1603, f. 141v ii Branle 78

cf. I-COc 1.1.20, ff. 6v-7v Seguita

B64. Besard 1603, f. 142r iii Branle gay 78

B65. Besard 1603, f. 142v i Branle gay 79

B66. Besard 1603, f. 142v ii Branle gay 79

B67. Besard 1603, f. 143r i Branle gay 80

B68. Besard 1603, f. 144v ii Branle 80

B69. Besard 1603, f. 143v Branle gay 81

D-Kl 4o.108.I, ff. 13v-14r Bransle gay

B70. Besard 1603, f. 144v i Branle 82

B71. Besard 1603, f. 145r i Branle 83

B72. Besard 1603, ff. 140v-141r Branle de Laurencin - C42 Crawford 11[18] 84-85

B73. Besard 1603, f. 142r ii Branle gay 85

cf. Terzi 1599, p. 68 Branle terzo

B74. Besard 1603, ff. 143v-144r Branle de Paris 86-87

B75. Besard 1603, f. 145r ii Branle commun 88

B76. Besard 1603, f. 145v i Branle [19] 88

B77. Besard 1603, f. 145v ii Branle de la gauotte 89

cf. PL-Kj 40032 p. 395 Branle

B78. Besard 1603, f. 146r Branle de la gauotte

alterius toni à Cidrac Rael Bituricensi composit [20] 90

Besard Novus Partus 1617

B79. Besard 1617, sig. M2v Bransle nouueaux de I.B.B. [1] 91

B80. Besard 1617, sig. M2v (Bransle nouueaux de I.B.B.) 2 91

B81. Besard 1617, sig. M2v (Bransle nouueaux de I.B.B.) 3 92

B82. Besard 1617, sig. M2v (Bransle nouueaux de I.B.B.) 4 93

B83a. Besard 1617, sig. K1v Bransle de Village Testudo Maior (1) 94

B83b. Besard 1617, sig. K2r Pransle de village I.B.B. Testvdo Minor 1 95

Repetantur singulae partes huius [each part may be repeated]

B84a. Besard 1617, sig. K1v ii (Bransle de Village Testudo Maior) 2 94

Ballard 1614, p. 52 Branle de Village Second; cf. B25

B84b. Besard 1617, sig. K2r (Bransle de village Testvdo Minor) 2 95

B85a. Besard 1617, sig. K1v iii (Bransle de Village Testudo Maior) 3 96

B85b. Besard 1617, sig. K2r (Bransle de village Testvdo Minor) 3 97

B86a. Besard 1617, sig. K1v iv (Bransle de Village Testudo Maior) 4 96

cf. Ballard 1614, p. 54 Branles de Village Quatriesme

D-B 4022, ff. 4v-5r Bologuia [...]esz [Vi]ncento [Be]rnia [21]

US-BEm 757, f. 30r Uno baletto

B86b. Besard 1617, sig. K2r (Bransle de village Testvdo Minor) 4 - Repete 97

B87. Besard 1617, sig. M4r 48 Brale quondam Laurencini 98-99

nuncupatum nunc vero a I. B. B. ad usum novae suae testudinis [22]

Appendix

Six assorted items are included as page fillers: a short tantz, a pastorelle from the Thysius lute book also found untitled in Mathew Holmes' third lute book, a rezercar that is a pastiche repeating familiar phrases from a fantasia of Francesco da Milano (see Ness 7),[23] a Dutch song called Hey Wilder dan Wild (see ValeriusB 46)[24] that is reminiscent of tarletones riserrectione Jo Dowlande in the Wickhambrook lute book (DowlandCLM 59),[25] an untitled triple time setting of a rather beuatiful tune in three sections and an untitled short toccata or prelude.

App 1. D-LEm II.6.15, p. 362 Tantz 1

App 2a. NL-Lt 1666, f. 374v Pastorelle - vel sic [or thus] 20

App 2b. GB-Cu Dd.9.33, f. 57v ii untitled 21

App 3. US-BEm 758, f. 26r Rizercar 21

App 4. Valerius 1626, p. 170 Hey Wilder dan Wild 38

App 5. D-Z 115.3, p. 36 untitled 78

App 6. B-Bc 26.369, f. 2v (p. 49) untitled 93

John H. Robinson - December 2021

† The inscription in the bottom margin of p. 99 reads "Die Thür pflegt vngern vffzugehn / Wann arme leüth vor dem Hauſse sthen' which Mathias Rösel kindly translated as 'The door usually opens reluctantly / when needy people are standing before the house' - which is not about the lute but relevant to the current refugee crisis.

Composite facsimile of H12a - CH-Bu F.IX.70, pp. 99-100†

Facsimile of H12i - D-B 40141, f. 67r

  1. Keyboard: *D-B 40034 (Loeffelholz), p. ? Die schena Somer zeytt; *GB-Lbl Add.29485 (van Soldt), f. 13r almande de amour; S-Skma1 (Eysbock), f. 3r Allamande D'amours. Instrumental ensemble: *GB-Lbl Roy App 74 (Lumley c.1548), f. 44r Allemana d'amor/ Cantus/ Altus/ tenor/ Bassus; Phalèse & Bellère 1571, f. 10v Almande damours = *Phalèse & Bellère 1583, f. 18r Almande d'Amour. Different to: D-Dl M 297, p. 147 Ach Amor Dantz ~ PL-Kj 40159, f. 17v Ach Amor; D-Kl 4° Mus. 108 I, ff. 36v-37r Amor; PL-Kj 40153, f. 19r Galaria d'amor. ↑

  2. H12l, q, r & u have one 6-bar strain in place of the first two strains A2B4 in other sources, but double bar lines have been added to create A2 and B4 strains editorially for consistency with the other settings for comparison. ↑

  3. For example Arthur Ness and John M. Ward The Königsberg Manuscript A facsimile (Columbus, Editions Orphée 1989), p. 19 lists H12app 2 as a cognate for H12b,e,h,i,k,m; Ralf Jarchow Johannes Nauclerus Lautenbuch facsimile (Glinde, Jarchow Verlag 2010), p. 36 lists H12i as a cognate for H12app 2 & 3; the Thysius Lute Book facsimile edition (Leiden and Utrecht, Nederlandse Luitvereniging 2009) lists H12app 3 as a cognate for H12k; the catalogues published by Christian Meyer listed H12app 4a as a cognate for H12j and H12app 7 as a cognate for H12c; the database of music for lute instruments of Peter Steur and Markus Lutz (https://mss.slweiss.de) ConcR764 lists H12app 1 & 3 as concordances for H12f; Hudson noted that H12app 6 was similar to the settings of Die schena Somer zeytt he listed (* in my worklist). ↑

  4. Thank you to Peter Király for a facsimile copy. ↑

  5. Thank you to Peter Forrester for a facsimle copy. ↑

  6. Bars 83/5-91/2 are missing in the original and reconstructed from 67/4-75/2. ↑

  7. Jan W.J. Burgers Joachim van den Hove: Life and Works (Utrecht, Koninklijke Vereniging voor Nederlandse Musiekgescheidenis 2013). ↑

  8. William Chappell, revised H. Ellis Wooldridge Old English Popular Music (London, Macmillan 1893/reprinted New York 1961) I, p. 288. ↑

  9. George Saintsbury Minor Poets of the Caroline Period vol. II (Clarendon 1906), pp. 468-469: https://archive.org/details/minorpoetsofcaro02sain/page/n3/mode/2up ↑

  10. Daniel Leech-Wilkinson 'The Thynne Lute Book' The Lute 33 (1993), pp. 1-11. ↑

  11. Luis Torres 'Michael Praetorius and Two English Country Dances' Folk Music Journal 2 (1974), pp. 389-395 [although Torres did not make the connection with Rocantins]. The second and third parts of Praetorius' La Bourree are settings of the tune Parsons farewell in Playford The Dancing Master 1651, p. 6 also known in France and elsewhere as 'Bourrée d'Avignon', 19 lute settings edited for Lute News 131 (October 2019) and Lutezine to Lute News 132 (December 2019), although I did not at the time note the cognates in Playford and Praetorius [nor the song to it in Starter 1621, p. 27 'Stil stil een reps' Stemme: De Nieuwe Laboré. ↑

  12. R3 and R6 superbly recorded by Claire Antonini on the CD Les Accords Nouveaux: Pierre Ballard 1631 (Claire Antonini, CA-02-2021), tracks 5 & 30. ↑

  13. The 'pecard' in the title could be a corruption of bécarre for natural tuning (fdeff), although the tablature is for a lute tuned edeff. ↑

  14. Thirty nine transcribed for renaissance lute for the Lutezine to Lute News 137 (April 2021). ↑

  15. Thanks to Denys Stephens for copy a of Daniel Heartz's modern edition from which the barring is taken. See also transcriptions by Richard Civiol and Jason Kortis at: https://www.scribd.com/document/444729802/Attaingnant-pdf ↑

  16. Related to the chanson 'C'est mon amy' by Janequin, see Clément Janequin: Chansons polyphoniques, A.T. Merritt and F. Lesure (Monaco 1965-1971, 2/1983), vi no. 229. ↑

  17. Also edited for 114 Early to Intermediate Pieces for Renaissance Lute from a Student’s Lute Book of 1603 and other Manuscripts (Albury, Lute Society Music Editions 2010), no. 58 ↑

  18. Numbering from Mariagrazia Carlone ‘The Knights of the Lute: Musical Sources’ Journal of the Lute Society of America xxxviii (2005), pp. 1-45 and Tim Crawford Thirty Pieces for Lute by Laurencini (The Lute Society Music Editions 1979). ↑

  19. I fondly remember this from Julian Bream's recording on LP/CD The Royal Courts of Europe (RCA Victor SB6698, 1967) which I bought in 1973. ↑

  20. This and B51 & B72 also edited for Lute News and Lutezine 134 (July 2020). ↑

  21. Also edited for Lute News 106 (July 2013) with all the music known by Vicenzo Bernia. ↑

  22. Also edited for Lute News 131 (October 2019). ↑

  23. Numbering from Arthur J. Ness (ed.) The Lute Music of Francesco Canova da Milano (1497-1543). Volumes I and II. Tablature and keyboard transciption (Cambridge MA, Harvard University Press, 1970). ↑

  24. Jan W.J. Burgers Three Lute Books from the Dutch Golden Age: Adriaen Valerius Nederlandtsche Gedanck-clank (1626) ~ Leiden BPL 2792 (c.1620) ~ Enkuisizen 1667-1 (1659) facsimile and modern edition (Lübeck, Tree Edition 2020). ↑

  25. Diana Poulton & Basil Lam The Collected Lute Music of John Dowland (London, Faber 1974 and revised 1978 and 1981). ↑